Like many artists and film-makers who grew up in the 1960s, Michael Raedecker's paintings focus on the weirdness of the suburbs. His generic double garages and garden sheds, sequestered in the cosy backyards of sprawling housing estates, emit eerie yellow lights. What or who is inside is left up to the viewer, but it is impossible not to make parallels with the wave of apocalyptic scenarios set in suburbia by American film-makers in the 1970s. Dutch-born Raedecker originally trained as a fashion designer before becoming an artist and this possibly accounts for his unusual method of combining household and acrylic paint, thread and stitching. It is a style that has won him universal praise, and he was shortlisted for the Turner Prize in 2000. His latest exhibition features work made since his nomination, revealing an intense fascination for Dutch still life.